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A Magazine for the Youth on Philippine Art & Culture • Volume 1 • 2010

A Toast to the Phiippines' Talented Youth

National Student Art Competition

2001-2010

Celebrating

A Decade of Partnership with the Filipino

Youth

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Editor’s Desk This issue of ArtPetron FOLIO, the first-ever magazine on Philippine art and culture published for the amazing Filipino youth, is special. For one, it celebrates the 10th year of ArtPetron, a milestone that this national student art competition is proud to have reached. ArtPetron, for a decade, has championed pride in being Filipino, and has helped discover many talented young artists — many of whom are now making a name in the art scene. Within the 60 pages of this special issue are articles that bring to fore the richness and uniqueness of our heritage. Multi-awarded writer and culture expert Felice Sta. Maria shares with us the true meaning of “cultural treasures”, a term we encounter time and time again but don’t really fully understand. Examples of our country’s cultural treasures on exhibit at the National Museum accompany her very interesting article. Another special occurence at the National Museum is a joint exhibit showcasing the best works of the country’s greatest masters — Juan Luna and Fernando Amorsolo. Images of some of the outstanding pieces from this collection will surely serve as an inspiration to budding young artists. Awesome is the word! As an interpretation of this year’s ArtPetron theme — Alay sa Natatanging Pamayanan — we feature Petron’s partnerships and alliances. The corporate world calls it “corporate social responsibility” or CSR. Petron calls it “out pledge to our stakeholders to partner with them in their efforts to improve their quality of life.” Raise your glasses to toast this year’s ArtPetron 10 winners! As we applaud them on their victory, we also recognize the past winners of ArtPetron, and give you a glimpse of where they are now. We wish to thank Director Jeremy Barns of the National Museum for allowing us to photograph the PAMANA exhibit. The ArtPetron Team

Dear ARTPETRON

Dear ArtPetron,

in partnership with

Studio 5 Designs ArtPetron Folio is a bi-annual publication of Petron Corporation on Philippine Culture published for the youth. Copyright © Petron Corporation. All rights reserved. No part of this magazine may be reproduced in any manner without the permission of the publisher. Opinions expressed in this magazine are the writers’ and are not necessarily endorsed by the publisher. Please send your comments or inquiries to ArtPetron Folio, c/o Petron Marketing Division, 40 San Miguel Bldg. Corporation, San Miguel Avenue, Mandaluyong City or email us at folio@ artpetron.com or at fuelsuccess@petron.com. Visit our website: www.artpetron.com and also be part of a lively exchange of ideas at www.artpetron.com/forum, multiply. artpetron.com, friendster.artpetron.com and facebook account: ArtPetron Ten

Tarlac State University

Volume 1 • 2010

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Published by:

Petron Corporation

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ArtPetron Bulletin

2 A Starry Starry, Night 4 A Season of Plenty 6  Grand Reunion 7 The Last Shall Be First... 8 Days of Reckoning Special Features

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A Heritage of Civic Partnerships The Philippine National Treasures

National Museum: 16 The Our Inheritance P etron Bataan Refinery: 22 

10 30

50 Years of Partnerships with the Community

26 P etron Cares People

We just want to thank ArtPetron for giving the youth a chance to develop our simple ideas into great masterpieces. Also we are grateful for reminding us to be proud of our own culture and heritage. ArtPetron has become a college tradition. We hope what we experienced in ArtPetron will go on and encourage other students to be creative and have fun while learning more. Bernardo Cabugnason

contents

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From the

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30 T he Golden Eye of Wig Tysmans 34

Mr. Big Heart: Raul Isidro

38

Students Speak What ArtPetron Means to Me

40 Where are they now? 46 ArtPetron 10 Winners 60 Panel of Judges

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ArtPetron Bulletin

A Starry, Starry Night They all came, each one of them – ArtPetron 9 winners, deans, artists, students, Petron and San Miguel employees and officials – to the Petron Megaplaza on the night of all nights, the ArtPetron Grand Awards Night! Our guest speaker, Dr. Joven Cuanang, Senior Vice President for Medical Affairs and Medical Director of St. Luke’s Medical Center, inspired one and all with his speech encouraging the youth to dream big dreams. He shared his passion for art which has resulted in his being a patron of Philippine art and likewise a gallery owner for over 40 years. It was a lovely evening. Food overflowed. Friendships rekindled. Memories of past glories remembered. It was indeed a night of stars, as well-known established artists hobnobbed with the future masters of the Philippines. (BELOW) Chairman and National Artist Billy Abueva (center) cut the ceremonial ribbon to formally open the ArtPetron 9 Exhibit at the Petron MegaPlaza Lobby. Assisting him were (from left to right) Petron President Eric Recto, Dr. Joven Cuanang, Dr. Cherry Abueva, Raul Isidro, Deanna Ongpin-Recto and Felice Sta. Maria. (Below Left) Judges and guests (from left to right): Petron’s Charmaine Canillas, Mark Floro, Dr. Joven Cuanang, Deanna Ongpin-Recto, Marily Orosa, Romy Vitug, Denise Weldon, Wig Tysmans and George Tapan. (TOP RIGHT)Photography judges George Tapan and Romy Vitug (CENTER) PWU Dean Charito Bitanga with her former students and past ArtPetron grand prize winners, Robert Besana and Jeffrey Salon. (BELOW RIGHT) FEATI University led by its Fine Arts dean, Ms. Janice Young celebrates their first grand prize winner, Lance Kirby Yaneza.

(Top) Guest Speaker and ArtPetron judge, Dr. Joven Cuanang Painting Category winners (left) with painting category winners (standing from left to right) Mark Miclat, Emil Jay Guiang, Darby Vincent Alcoseba, Arel Zambarrano, (kneeling from left to right) Jareds Yokte, and Lance Kirby Yaneza. Chairman and National Artist Billy Abueva (center), Ms. Deanna Ongpin-Recto (second from right) and Felice Sta. Maria (extreme right) look on. (CENTER) Photography winners (from left to right) Reselda Tapnio, Mishael Jacob Pueblas, Mike Angeles of Petron, Ronel Pangan, Vincent Kho, ArtPetron judge Romy Vitug, Catherine Aragoncillo, Richard Reyes, ArtPetron judges George Tapan and Mark Floro (BELOW RIGHT) Runners up in Oil/Acrylic category: (from left to right) Ramon del Rosario of Petron, ArtPetron judge Raul Isidro, Alex Ordoyo, Jefferson Padlan, and Evan Tiu Ng. (Below LEFT) Grand prize winners in Photography category: Chairman Wig Tysmans, Al Ameer Marco Lawan, Karlo Emmanuel Victoriano, Mishael Jacob Pueblas, Vincent Kho, Ronel Pangan, Paul Allyson Quiambao, ArtPetron judge Denise Weldon and Mike Angeles of Petron.

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ArtPetron Bulletin

44th Anvil Award of Merit PR Tool (External Publications): Petron 2008 Wall Calendar

A Season of Plenty

44th Anvil Award of Recognition PR Tools (Electronic and Interactive Media): ArtPetron Fiesta Website Philippine Quill Award of Excellence ArtPetron 8: Fiesta Collaterals Category 19: Publications Philippine Quill Award of Excellence Petron Wall Calendar: Pro-Youth and Pro-Filipino Category 19: Publications

ArtPetron in 2009 received valuable awards from the International Association of Business Communications (IABC) and the Public Relations Society of the Philippines (PRSP), two prestigious award-giving bodies that yearly conduct a search for the best in communication programs and tools amongst the country’s top corporations and creative groups. Last year, over 300 entries for each of these two contests vied for the 2009 IABC Gold Quill and the PRSP Anvil Award.

Philippine Quill Award of Excellence ArtPetron 8: Alay sa Pistang Pilipino Category 6: Multiple-Audience Participation Philippine Quill Award of Merit ArtPetron Fiesta Website and Social Sites Category 17: Electronic/Digital Communication Skills Philippine Quill Award of Merit ArtPetron Fiesta Folios Category 21: Publication Design

The new trophies reaped by ArtPetron in 2009 bring to count a total of 65 awards received from 2001 (Art Petron’s inception) to 2009. These include top awards from the Manila Critics’ Circle, Public Relations Society of America (PRSA), AdBoard and the University of Asia and the Pacific-IMCEA.

2007 Anvil Award of Excellence Program for Specific Stakeholders ArtPetron 7: Alay sa Palatandaang Bayan

The Gold Quill is “a symbol of excellence and accomplishment the world over: and the most prestigious recognition a business communicator can achieve.” The Anvil is the “symbol of Excellence in public relations in the Philippines, awarded by a distinguished multi-sectoral jury to outstanding public relations programs and tools designed and implemented in the past year.”

Anvil Award of Excellence Electronic and Interactive Media ArtPetron Website and Social Sites Anvil Award of Merit Special Publication ArtPetron Folio 2 Anvil Award of Merit External Publication – Promotional Collaterlas ArtPetron Collaterals

List of AWARDS 2009 45th Anvil Awards of Excellence ArtPetron Markets Collaterals PR Tools (External Publications – Collaterals) 45th Anvil Awards of Excellence Petron 2009 Wall Calendar Pro Youth, Pro Filipino PR Tools (Wall Calendar) 45th Anvil Awards of Merit ArtPetron Markets Folios PR Tools (Magazines) Philippine Quill Award of Excellence ArtPetron 9: Alay sa Pamilihang Bayan Division 1: Communication Management Category 6: Multi-Audience Communication

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2008 Philippine Quill Award of Excellence ArtPetron “Markets” Collaterals Division 2: Communication Skills Category 20: Publications

The Tambuli Awards 2009: 3rd IMCEA Silver Trophy Award Category: Most Effective Teens Brand Campaign: ArtPetron Fiesta Program: Pro-Filipino, Pro-Youth

Philippine Quill Award of Excellence ArtPetron 9 Artist’s Village Website Division 2: Communications Skills Category 18: Electronic and Digital Communication (Web sites)

44th Anvil Award of Excellence PR Tools (Special Publications): ArtPetron Fiesta Folios

Philippine Quill Award of Excellence ArtPetron Folio “Markets” Issues Division 2: Communication Skills Category 20: Publications (Magazines)

44th Anvil Award of Excellence PR Tools (Special Publications): ArtPetron Fiesta Collaterals 44th Anvil Award of Excellence PR Tools (Exhibitions): ArtPetron Fiesta Exhibit 44th Anvil Award of Merit Specific Stakeholders (Talented Youth): ArtPetron 8: Alay sa Pistang Pilipino

Philippine Quill Award for Excellence Division 2 Electronic and Digital Communication ArtPetron Website and Social Sites Philippine Quill Award for Merit Multi-Audience Communication ArtPetron: 7th National Student Art Competition Philippine Quill Award for Merit Division 3 Publication Design ArtPetron Folio 2 The 2nd IMCEA Silver Trophy Award Category: Best Established Service Brand Campaign For ArtPetron: Alay sa Sining Pilipino Program

2006

2005

2002

Gold Quill Award of Excellence Division 6 Multi-Audience Communication ArtPetron 6 National Student Art Competition

Anvil Award of Merit External Publication – Calendar Petron Calendar 2005- Lumang Ani, Bagong Sali

Anvil Award of Excellence For Publication – Wall Calendar Petron 2002 Wall Calendar

Gold Quill Award of Excellence Division 13 Publications ArtPetron Folio Gold Quill Award of Excellence Division 14 Special Project Design Brushstrokes from the Heart Gold Quill Award of Excellence Division 15 Special Project Design ArtPetron 6 Collaterals Araw Values Silver Award Single Entry Direct Communications ArtPetron 5 “Relationships” 2006 Calendar Araw Values Bronze Award Single Medium Campaign Direct Communications ArtPeron 5 “Relationships” Collaterals Araw Values Bronze Award Single Entry Direct Communications ArtPetron 4 “Harvest” 2005 Calendar Araw Values Bronze Award Single Entry Direct Communications “Brushstrokes from the Heart” Coffee Table Book Anvil Awards of Excellence External Publications – Magazine Petron Folio Anvil Awards of Excellence External Publications – Promotional Collaterals Art Petron 6 Collaterals

Anvil Award of Merit External Publication – Promotional Collaterals: ArtPetron 5 Collaterals Gold Quill Award of Excellence Division 6 Multi – Audience Communication ArtPetron: 6th National Student Art Competition Gold Quill Award of Excellence Division 15 Special Project Designs ArtPetron 5 Collaterals Gold Quill Award Of Excellence Division 13 Publications: Petron 2006 Calendar Gold Quill Award of Excellence Division 14 Publication Design Petron 2006 Calendar 1st IMCEA Award Silver – Best Small Budget Brand

Gold Quill Award of Excellence ArtPetron Harvest Collaterals Petron Corporation Anvil Award of Excellence For Special Publication – Collateral ArtPetron II Collaterals 2004 Araw Values Silver Award Single-Medium Campaign Direct Communications ArtPetron 3 Collaterals Araw Values Silver Award Single Entry Direct Communications ArtPetron 3 Wall Calendar Araw Values Bronze Award Single Entry Direct Communications ArtPetron 2 Wall Calendar

Anvil Awards of Excellence Program/Project Directed at Specific Stakeholders – Youth Art Petron 6: Alay Sa Sining Pilipino

2003

The National Book Awards for 2006 Alfonso Ongpin Award for Art Brushstrokes from the Heart (ArtPetron: The Firt Five Years)

2001 Bronze Award of Excellence For Best Creative Tactic ArtPetron: 1st National Student Art Competition (Given by the Public Relation Society of America PRSA) Bronze Anvil Award (Highest Award in PR Tools) ArtPetron Collaterals Anvil Award of Excellence For Public Affairs – Arts and Culture ArtPetron: 1st National Student Art Competition Anvil Award of Excellence For External Publication – Promotional Collaterals ArtPetron Collaterals Anvil Award of Excellence For Electronic and Interactive Media ArtPetron Website

2004

Anvil Awards of Excellence External Publications – Calendar Petron 2006 Calendar

Anvil Awards of Excellence External Publications – Coffee Table Book Brushstrokes from the Heart (ArtPetron: The First Five Years)

Anvil Award of Excellence For Special Publication – Collateral ArtPetron II Collaterals

Anvil Award of Merit For Corporate PR program ArtPetron III Program Anvil Award of Merit Tools of Publication ArtPetron III Website

TOTAL 65

The National Book Awards are given by the Manila Critics Circle The Anvil Awards are given by the Public Relations Society of the Philippines (PRSP). The Gold Quill is given by the International Association of Business Communicators (IABC). The Araw Values Awards are given by the AdBoard of the Philippines The Bronze Anvil Award is given by the Public Relations Society of America (PRSA). The IMCEA Award is given by the School of Communication, University of Asia and the Pacific (UA&P)

Anvil Award of Merit Tools of Publication Petron 2003 and 2004 Calendar Gold Quill Award of Excellence ArtPetron III Collaterals Gold Quill Award of Excellence ArtPetron III Website

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ArtPetron Bulletin

T

he Last Shall Be First…

It has been a known fact that the bulk of entries to ArtPetron always comes in on the very last day of submission. For ArtPetron 10, D-Day was August 16, 2010. Not even the downpour dampened the spirits of students who came trooping in to the ArtPetron Secretariat’s office from eight in the morning to twelve midnight. They came soaking wet, but happy to have made it.

With the UST College of Fine Arts and Design regent Rev. Fr. Edgardo Alaurin (third from right) and faculty member of the UST College of Fine Arts.

At the PUP Manila, a regular participant to ArtPetron

Students of UE Caloocan- College of Fine Arts listening to the explanation of the theme.

G

rand

Reunions

Jade Madar ang fixing he

r artwork

Jade Manarang of FEU had an experience worth telling. Because her artwork was too big, the MRT station in Santolan disallowed her passage. She took a shuttle to Makati only to have her big artwork (which was tied on the shuttle’s rooftop) flown by the wind and tossed onto the highway, and then run over by a speeding jeepney. Jade did not lose hope. She took a cab to Makati and there, at the Secretariat’s office, tearfully tried to salvage her badly damaged artwork. She said:” Nevermind, if I don’t win this year. I will be back next year and submit a better entry.”

They came …

It was a grand reunion each time we visited a school during our one-week tour of select Metro Manila schools to promote ArtPetron. Like much-loved family members, we were warmly welcomed, cheered, patted on the back and even hugged by teachers and students. It was quite touching.

Deans gave us a chance to talk about this year’s theme and what it meant. We even showed “The Journey”, a nostalgic video of ArtPetron’s 10 years. Some were teary-eyed upon seeing familiar faces of friends, deans and teachers. But everyone was happy to have had a chance to meet up with the ArtPetron Team. The hectic and tiring schedule was well worth the love and friendship that we were so enthusiastically given. It was good to know that ArtPetron continues to live to this day in the hearts and minds of the Filipino youth! They made it.

University of Asia-Pacific students take a look at Folio.

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PWU students commit to join ArtPetron 10.

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ArtPetron Bulletin

Raul Isidro

Photography Category Panel of Judges: (from left to right) Felbin Soto, George Tapan, Denise Weldon, Chairman Wig Tysmans, Ana Neri and Mark Floro.

National Artist Billy Abueva

Days of Reckoning:

National Artist Bencab

Judging of ArtPetron 10 Entries

On Thursday, August 19, 2010, three National Artists – Napoleon Abueva, BenCab and Rio Almario –together with well known painters Danny Dalena and Alfred Esquillo, and multi-awarded writer Felice Sta. Maria rolled up their sleeves to look through hundreds of oil and water-based artworks submitted for ArtPetron 10. They were joined by Petron managers Charmaine Canillas and Felbin Soto. Judges looked for the Filipino values of bayanihan, compassion, stewardship and other qualities that bring to fore the theme of partnerships with the community. George Tapan

Billy Abueva, Chairman of ArtPetron Panel of Judges since 2001, summed it up best: “As students look forward to ArtPetron every year, we older and established artists also look forward to seeing first-hand the amazing talent of the Filipino youth and how they express pride in being Filipino.”

Painting Category Panel of Judges: (from left to right) Alfred Esquillo, Charmaine Canillas, Virgilio Almario, Felice Sta. Maria. Chairman Billy Abueva, Raul Isidro, Bencab, Danny Dalena and Felbin Soto. Wig Tysmans

On Friday, August 20, 2010, it was the turn of the Panel of Judges for Photography to scrutinize hundreds of photo entries. Headed by Wig Tysmans, top lens men George Tapan, Denise Weldon and Mark Floro, cinematographer Romy Vitug amd Petron managers Ana Neri and Felbin Soto spent a whole day picking the cream of the crop. Judges looked for originality and honest rendition of subject matter.

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Chairman Wig declared:” We are interested in beautiful images but they must have meaning, and must be true-to-life and genuine not staged.”

y an entry should Discussion on wh

win.

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A Heritage Special Feature

THE PHILIPPINE NATIONAL TREASURES By Felice Prudente Sta. Maria

CULTURAL ACTION IS AN IMPORTANT EXPRESSION OF CIVIC RESPONSIBILITY. CULTURE IS HOW A PEOPLE DECIDE TO LIVE; IT IS THEIR LIFESTYLE. CULTURAL ACTION IS WHAT A PEOPLE DO TO CONSERVE WHAT IS MOST PRECIOUS IN THEIR LIFESTYLE.

The Spoliarium won the gold medal in Spain’s most prestigious art contest, the Madrid Exposition of 1884. Painted by 27-year old Filipino painter, Juan Novicio Luna, the large oil painting depicts the people predicament and intellectual’s disillutionment with the governement and poverty during the Spanish era.

IT CAN BE TANGIBLE OBJECTS PRODUCED BY CELEBRATED ARTISTS AND FAMOUS SCIENTISTS, OR BY ORDINARY PEOPLE FOR SPECIAL OCCASIONS OR EVERYDAY USE. IT CAN BE TANGIBLE PLACES IMPORTANT TO A PEOPLE’S HISTORY. IT CAN ALSO BE INTANGIBLE SKILLS OR VALUES NEEDED TO UPHOLD FILIPINO IDENTITY. WHAT A PEOPLE CONSERVE AND SHARE WITH FUTURE GENERATIONS IS CALLED “HERITAGE”. ALL GENERATIONS Patriot-painter Juan Luna painted this famous portrait of 16-year old Emiliana Trinidad of San Rafael, Bulacan. The painting fully depicts the charm and coyness of the dalagang Filipina of that era

OF FILIPINOS HAVE AS PART OF THEIR HERITAGE THE PHILIPPINE NATIONAL TREASURES.

Felice Prudente Sta. Maria is a multi-awarded and prolific writer of Philippine history and culture. She served as a commissioner of the UNESCO National Commission and the National Museum and the International Council of Museums, and as Chairperson of the Metropolitan Museum.

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Acquiring the Honorable Rank “National Treasure” is the highest rank the government bestows on properties with supreme value to the country’s heritage. The Philippine National Museum, founded in 1901, gives the designation on behalf of its partner, the National Commission for Culture and the Arts (NCCA) established in 1992. Originally, only specimens in the National Museum’s collection were eligible to become National Treasures. In 1995, NCCA – for which the National Museum Director is always an ex-officio commissioner – decided that even cultural properties not owned by the National Museum should be eligible for the rank. NCCA expanded the definition of “cultural properties”

beyond objects to include sites. The trend internationally is to include special skills, the intangibles, as well. Hudhud chanting done by the Ifugao, for instance, is recognized by UNESCO (the United Nations Educational, Scientific and Cultural Organization) as valuable to World Heritage. The rare and superior designation is a signal to sustain the chanting skill because it is important to the full story of humanity. There are many Important National Cultural Properties, Historical Shrines, and Important Historical Sites. There are also works made by National Artists and skills that Manlilikhang Bayan (Living Treasures) seek to keep alive. But some stand out as very special to the story of who the Filipino and the Philippine nation are. To become a National Treasure a cultural property must have timeless meaning for all Filipinos. It should exemplify outstanding

workmanship, or have exemplary historic, scientific or artistic importance. It also could be of exceptional value to scholarship. Ideally, through story or form, it should inspire excellence and nobleness as values for Filipinos to preserve in the way they conduct themselves. National Treasures can be owned publicly or privately. Once declared a National Treasure a cultural property needs extra special care. The “owners” become caretakers on behalf of the Filipino people. Whether individuals, families, neighborhoods, institutions, companies, or local and provincial governments the owners have increased responsibilities because of the high ranking the cultural property acquired. The list of National Treasures can grow as reckonings of value differ. The sampling that follows represents basis for national pride and a sense of what Philippine culture appreciates. 11


Pre-Colonial National Treasures Perhaps the most well known prehistoric National Treasure is the Manunggul Jar. Discovered inside a cave at Lipuan Point, Palawan, the terracotta masterpiece, made between 710 and 890 BC (about the time Rome was founded), shows a deceased soul being rowed into the afterlife. Only 66.5 centimeters high, it was used for secondary burial: for bones left after a corpse decomposed. Archaeological research in Iloilo gave the country another National Treasure: the Oton Death Mask. Made some time during the 14th and 15th centuries of gold, the mask has a cover for a pair of eyes, and one for the nose. The gold sheet used is thin with raised curvilinear scrollwork and dots. Artisans made masks for use on corpses that wore them in their graves. Like the Manunggul Jar, the Oton Death Mask is part of the Philippine National Museum holdings.

Colonial-Era Structures At the northwestern corner of Luzon Island, overlooking South China Sea, is Cape Bojeador Lighthouse. Operational in 1892 the crucial naval outpost, towering 160 meters tall, remains a rare example of architecture teamed with technology for its era. It was declared a National Treasure in December 2005. In December 1931 the Metropolitan Theater in Manila City designed by architect Juan Arellano was inaugurated. In its heyday, the premiere performing arts venue seated 1,670 persons. It is valued as a remarkable example of Philippine art deco with its bronze high-relief sculpture of female figures by Italian artist Francesco Riccaro Monti on the faรงade, and its decorations featuring Philippine plants crafted by Isabelo Tampingco. The structure received its National Treasure designation in June 2010.

The Cape Bojeador Lighthouse was built in 1892 and is a rare example of architecture combined with technology which was advanced for its era.

(Left) The Manunggul Jar is a prehistoric terracotta masterpiece dating 7 to 8 B.C. showing a deceased soul being rowed to the afterlife.

(Bellow) Gold was used as a going away present for the dead, that they be treated well in the afterlife. The Oton Death Mask (14th - 15 th A.D.) is an example of of this practice by our ancestors.

The Metropolitan Theater was designed in the 1930s by National Artist Juan Arellano and is a remarkable structure of Philippine art deco. Two other great artist collaborated with Arellano - Isabelo Tampinco and Italian sculptor Francesco Riccaro Monti

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National Treasures from the Independence Movement Preparatory to the centennials of Philippine nationalism that started in 1992, with the 100th anniversary of the founding of the Katipunan, and ended in 1999, with the centenary of the promulgation of Asia’s first constitutional democracy, NCCA reviewed what should become the first non-National Museum-owned tangible properties to become National Treasures. Unanimously selected were the original handwritten manuscripts of National Hero Jose Rizal’s Noli Me Tangere and El Filibusterismo novels, and his untitled last work popularly called Mi Ultimo Adios. Penned in ink, they were made in the 1880s without typewriters and carbon paper, what more computers. Every stroke holds in it the emotion of its moment.

Post-World-War-II Philippine Republic Treasures Manila City received its second National Treasure when “Filipino Struggles Through History,” the last major work by Carlos Francisco was given the award in June 2010 along with Metropolitan Theater. The mural by the second painter to have received the National Artist Award (in 1973, four years after his death) is on four walls of Manila City Hall. It was commissioned in 1964 by then Mayor Antonio Villegas.

Noli Me Tangere, a Philippine National treasure , was published in 1887. It is written work that pricked the consciences of Spanish language readers because of its parody of manner, its refined sarcasm and it heart-picking melodrama. its author, 26-year old Filipino Jose Rizal had pierced through the veil of colonial smugness, avarice and a frailocracy.

In addition, the Philippine National Library curates another National Treasure: the original Proclamation of Philippine Independence document on which signatures were added on the historic afternoon of June 12, 1898. Although unlocated, and never recorded as having been in a Philippine government collection, the original, official Philippine Constitution produced by the Malolos Congress, ratified on November 29, 1898 then promulgated on January 22, 1899, was given the highest rank. It is hoped that the document will be located and honored. Being the first republican constitution in Asia, it has international value.

The Banaue Rice Terraces are 2000-year old terraces that were carved by hand into the mountains of Ifugao in the Philippines by ancestors of the indigenous people. They are fed by an ancient irrigation system from the rainforests above the terraces.

Rethinking Worth Not all treasures have monetary value. The country does not have an original score of the National Anthem penned by Julian Felipe. There was supposed to have been one in the government’s possession, but it was burned during World War II. Finding another, knowing that the composer made several and is said to have given one to Admiral George Dewey, is a worthy hunt. Important to shared culture and a sense of nationalism is officially identifying the actual Philippine flag sewn by Marcella Agoncillo and brought by Emilio Aguinaldo from Hong Kong in May 1898. A search for both national symbols should be undertaken furtively.

Added to the treasure list was the site of the Proclamation of Philippine Independence. It is the birthplace of the Philippine Republic’s first president, General Emilio Aguinaldo, and became his residence. But for historical purposes its being the Independence House, is what makes the structure a National Treasure. Malolos Church is another National Treasure, but not for its architecture or religious collections. From September 15, 1898 through January of the following year, its nave was the equivalent of today’s Batasang Pambansa. The religious statues and symbols were covered and the entire space turned into a session hall. The delegates representing different parts of the archipelago, a number of them elected, produced the Malolos Constitution.

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El Filibusterismo, a Philippine National Treasure, was published in 1891, was more a political treatise than the novel it was meant to be. It continues the story of Noli Me Tangere. Rizal was 31 years old when he wrote this.

Mi Ultimo Adios was Rizal’s farewell poem which he wrote on the eve of his execution. He cleverly hid it inside a gas lamp which he turned over to his sister when he bade his mother and sisters goodbye. Rizal was 35.

Places designated UNESCO World Heritage Sites mean they have been judged valuable to all peoples of the planet. They

include the Cordillera Rice Terraces¬ with their irrigated payo fields carved into mountains. The Terraces are now on the Endangered World Heritage list because the lifestyle that sustains the terraces are threatened. World Heritage Sites in the archipelago deserve to be National Treasures, as is the plan of newly legislated policy. The idea of declaring National Treasures started in the 1800s when countries sought to preserve antiquities, historical places, and objects associated with the evolution of new countries. By the 1890s England, France, Greece and Japan had activated laws to protect their cultural heritage. Each generation of leadership and new youth has the responsibility to recognize and continue partnerships that establish what is precious as shared culture and national heritage.

Photos are from In Excelsis: The Mission of Dr. Jose P. Rizal, and Visions of the Possible: Legacies of Philippine Freedom. Both won National Book Awards for Biography and Book Design. Published/ copyright by Studio 5 Publishing and written by Felice P. Sta. Maria. Photo of Metropolitan Theater by James Ona.

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Special Feature

The National Museum:

Our by Jeremy Barns

M

Study of Filipina Farmer

useums have always been my favorite places. Since I was a child I have always imagined them as great palaces of treasure and knowledge, packed full of objects that would provoke wonder and fascination at the evolution of the human race and the amazing ways in which people have lived and expressed themselves and the world around them. Museums instill understanding and appreciation of the natural world itself, and give, through beauty and exquisite form, a deep sense of pleasure.

PAMANA: Heritage of

a nation

Luling Cuondo Niño

The Balanghi 1 is made of wood dating back to the 3rd century and constructed as a boat in the 12th century. It is considered the oldest remains of a Southeast Asian boat.

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Here in the Philippines we’re lucky to have quite a few such places where we can go and pass the time in this way, leaving with that sense of having done something worthwhile, and even feeling exhilaration and awe. And the biggest and best of these places is the National Museum, with its collections spanning the visual arts, anthropology and archaeology, and the natural world – zoology, botany and geology. Here you can find famous masterpieces by the greatest Filipino artists, precious relics of ancient and existing societies and communities in our country, the myriad of wealth of life throughout the islands and the story of when, how, and why our archipelago came into being in the first place. As if that weren’t enough, the National Museum is housed in some of the grandest and most beautiful and historic buildings in Manila and around the country, featuring

impressive architecture and evoking important events of the past. These collections and buildings of the National Museum are the inheritance of all Filipinos, of every generation now and into the future, and so when the time came to put together a special exhibit to coincide with Independence Day last June 12, it was obvious that the best theme would be one that focused on that sense of inheritance. It would also be the best time to put on display some of the best of our collections that had never been seen together, or had not exhibited for a long time and, in some cases, had never been seen by the public at all. And so, The Pamana: Heritage of a Nation was conceived as the Museum’s main event for June. We went through the collections in storage, its scope grew to encompass three whole exhibitions of such fantastic objects that it was felt they actually merited permanent display so that no visitor to the National Museum would ever miss the chance to see them. 17


Here in the Philippines we’re lucky to have quite a few such places where we can go and pass the time in this way, leaving with that sense of having done something worthwhile, and even feeling exhilaration and awe. Pescadores de Bangkusay (Boat People)

JUAN LUNA Y NOVICIO: The Far East Bank

Juan Luna y Novicio (October 23, 1857 - December 7, 1899) was an Ilocano Filipino painter, sculptor and a political activist of the Philippine Revolution in the late 19th century. His painting, Spoliarium, which won the gold medal in the 1884 Madrid Exposition of Fine Arts, along with the silver win of fellow Filipino painter Félix Resurrección Hidalgo, brought world-wide acclaim to the Philippines, and showed evidence that Filipinos and Spaniards were equals. Luna painted literary and historical scenes, some with an underscore of political commentary.

and Trust Company bequest of the Grace Luna de San Pedro collection

Two of the exhibitions were of artworks by two of the best and most well-known of Filipino artists: Juan Luna and Fernando Amorsolo. The National Museum in the early 1990s received a bequest through the Far East Bank and Trust Company of the collection of Grace Luna de San Pedro, Juan Luna’s daughter-in-law. At well over a hundred paintings by Luna, this collection is actually the largest of his works anywhere in the world, and shows his wide range as an artist. This may come as a surprise to many who have the vast Spoliarium (also at the National Museum) in mind when they think of Luna. Included in the collection is one portrait of Luna by his friend Felix R. Hidalgo, and numerous paintings by Luna’s son Andres.

Chartier

Portrait of Juan Luna By Felix Resurrecion Hidalgo Coming Home from the Farm Oil on Canvas, 1949 23cm x 33 cm

The whole bequest had never been put on display together, and as an entire collection it is truly a monument to corporate philanthropy and the role the private sector can play in supporting public cultural institutions. Indeed, the National Museum with deep gratitude acknowledges in perpetuity the generosity of FEBTC, which is now part of the Bank of the Philippine Islands. 18

Mi Madre

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FERNANDO AMORSOLO:

TREASURES of Archaeology

The Amorsolo family bequest of sketches and memorabilia After the death in 1972 of Fernando Amorsolo, who was our country’s first National Artist, his wife donated to the National Museum a large collection of his sketches. Numbering over 150, this is also the largest such collection anywhere in the country, spanning all genres and themes – landscapes, cityscapes, rural scenes, portraits, historical scenes – for which Amorsolo was famous and remains well-loved. Included in the donation were unique and valuable personal memorabilia – no less than the set-up of the artist’s studio when he died: his easel, chair, brushes, paints, palette and even the last portrait of a certain lady he was in the process of painting and had half finished. In grateful acknowledgment of the philanthropy of the family and the outstanding importance of this collection, all the sketches that comprised the bequest were placed on display together for the first time, and the memorabilia was arranged as closely as possible to recreate Amorsolo’s working arrangements as he left it. The reconstructed scene really evoked the artist at work, and viewing it made one feel that the artist had just stepped out of the room to go have lunch or something.

Portrait of Don Julio de la Orden Oil on Canvas, 1949

Francis Burton Harrison Oil on Canvas,1938

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Portrait of Mrs. Banks Oil on Canvas, 1956 120 cm x 87 cm

Fernando Amorsolo y Cueto (May 30, 1892 – April 24, 1972) was a portraitist and painter of Philippine illuminated rural landscapes, which often portrayed traditional Filipino customs, culture, fiestas and occupations. His pastoral subjects presented “an imagined sense of nationhood in counterpoint to American colonial rule” and were important to the formation of Filipino national identity.

The third exhibition was the most ambitious of all – to gather together in one grand hall the greatest treasures of Philippine archaeology – spanning terrestrial archaeological items excavated from all over the country as well as marine archaeological relics recovered from shipwrecks in our waters. Choosing the best items was easy, because we opted to feature only those that had been declared or were awaiting declaration as National Cultural Treasures, the highest and most important official cultural status in the Philippines. In fact, our plan was to make the pending declaration at the opening of the exhibition, which ultimately became a showcase of 30 items that included the remains of the earliest modern man found in the country, the Manunggul Jar, the Oton Gold Deathmask, the only three known items that contain pre-Hispanic Filipino script (the Calatagan Jar, the Butuan Paleograph and the Laguna Copperplate) and many others – including a few items from shipwrecks such as that of the San Diego. The centerpiece of this exhibit was the legendary Balanghai I, which was unearthed in 1976 in Butuan and declared a National Cultural Treasure in 1986 during the administration of President Corazon C. Aquino. Its wood has been dated to the third century and the boat was likely constructed and used in the 12th century. As such it is considered by many as the oldest remains of a boat in Southeast Asia. It is certainly a wonderfully evocative reminder of how our ancestors left the Asian mainland and arrived on the shores of this archipelago. A priceless cultural relic, it was brought to Manila for the very first time from the National Museum’s museum-shrine in Butuan.

The Pamana exhibitions represented quite a few firsts for the National Museum, particularly putting entire art collections on display and in bringing objects of outstanding significance either out of storage or to more prominent view. In doing so, the National Museum aims to further promote to Filipinos everywhere – and to those from abroad who are interested in learning more about our country – the sheer wealth of our artistic and cultural inheritance as a people. At the same time, by extending and enhancing the permanent galleries, visitors are assured of always seeing the best of the national collections whenever they choose to come, whether just once or, we hope, repeatedly. So having made that start, the National Museum is working to continue in the same vein as galleries are renovated and more exhibition space becomes available. Indeed, as more objects

Above: The Batangas ‘“ Likha” figurine made of lime stone was used as ritual icon in the 15th-16th century is the only authenticated “Likha”.

Below: Rare porcelain wares–bowl, vase, jarlets from different centuries found in Pandacan, Butuan, Marinduque, Palawan and other parts of the Philippines

are gathered and placed on display, visitors will also soon be able to enjoy as never before the Museum’s main building, the Old Congress Building – with all its historical associations with our political past and our aspirations for independence and democratic government – as the restorations of the former House and Senate session halls, as well as other public areas both indoor and outdoor, make continued progress. The landmark building will soon be more public than it has ever been. The ultimate aim is to present and educate, in impressive and evocative surroundings, an accessible, coherent, representative, substantial and above all unforgettable experience that befits this wonderful institution in which every Filipino should take pride: the ultimate aim in short, is to make the National Museum, our great palace of treasure and knowledge, your favorite place too.

Jeremy Barns is the Director of the National Museum of the Philippines. An economist, historian, writer and career civil servant, he was formerly the director of the Malacañan Palace Museum and Library from 2003 until April, 2010. All photos were granted permission by the National Museum.

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Special Feature

50

The Bataan Refinery was designed to be the most modern & sophisticated refinery in the Far East.

Petron Bataan Refinery:

Years of

Partnerships

with the Community

by Alfredo E. Daulat The Bataan Refinery supplies nearly 40% of the country’s total fuel requirements, providing fuel and oil product requirements to millions of Filipinos. Partnering with global experts to provide unique and innovative services, the facility produces world class products that meet the highest standards.

C

overing more than 240 hectares, the Bataan Refinery is the largest and one of the most modern oil refinery in the country. The Refinery is located in Limay, a first class municipality in the province of Bataan, was inaugurated on April 8, 1961. It started with a refining capacity of 25,000 barrels per stream day. Its 30 year old history include installation of sophisticated equipment that have put the Refinery as the best in the Philippines and Asia. Among them are the following milestones: In May 2005, $100-million Clean Air facilities was inaugurated. The facilities—a 22,000 barrel per day (bpd) Gasoil Hydrotreater (GOHT) and a 10,000 bpd Light Virgin Naphtha Isomerization (Isom) unit—puts the Refinery in a unique position of being the only oil company in the country capable of producing Clean Air Act (CAA)-compliant fuels to meet its domestic requirements. The GOHT significantly reduces the sulfur content in diesel while the Isom enables the production of high-octane gasoline within

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the CAA-prescribed limits on aromatics and benzene (35% and 2% respectively). In April 2008, the country’s first petrochemical feedstock units, namely, the Petro Fluidized Catalytic Cracking (PetroFCC) unit and a Propylene Recovery Unit (PRU) were commissioned at Refinery. The PetroFCC, the first “cracking” unit of its kind in the world, converts black products (fuel oil) into higher-value LPG, gasoline, and diesel, and yields a higher level of the petrochemical feedstock propylene than typical FCC units. The PRU further purifies the propylene so that it can be used in making various petrochemical products that are used to manufacture everyday items such as food packaging, appliances, suitcases, furniture, DVDs and even car parts. The Environmental Management System of the Bataan Refinery is ISO-14001 certified. This is a manifestation of the Refinery’s commitment to sustainable development and the welfare of future generations.

Today, the Refinery has a capacity of 180,000 barrel-per-day. Crude Distilling Units (CDUs) process raw material into finished products used by big industries and even the man on the street. Over 400 people run the entire facility, many of them working in three shifts to operate equipment and machinery. Stanvac Pioneering Community The Bataan Refinery is a story of adaptability in action since the late 1950s. Its rich history began in 1957, when an oil refining concession was granted to Standard Vacuum Oil Company (Stanvac), a shaker and shaper of worldwide fuel resources. It dealt directly or indirectly through affiliates in at least 50 countries and territories in the Far East including the Philippines, Southeast Asia, Australia and Africa. In the Philippines, Stanvac was the leading marketer of petroleum products. When Stanvac decided to put-up a refinery, it sent a pioneering American staff to live in Limay. A housing compound for the small community of Stanvac employees and their families was organized. Stanvac

expatriates adjusted so successfully to their new way of life in Bataan that they, particularly Assistant GM W. J. Hesketh and Refinery Manager R. E. Pulver, became adopted sons of Limay in1960. GM C.A. Larsen later became an adopted son of province of Bataan. People: The Refinery’s Best Resource Inheriting major legacies of infrastructure from great names in the petroleum industry -- Stanvac, Esso, PNOC and Saudi Aramco-- the Refinery has a rich heritage and tradition. All the action is guided by a vision crafted in 2009. The self-imposed mandate envisions the Refinery to be the leader in refining quality petroleum fuels and petrochemical feedstock in the Philippines, and a competitive player in Asia-Pacific by sustaining operational excellence while continuously providing safety and continuous improvement; to its competent, committed and motivated employees. It is committed to nurturing a culture of team work and open communications; care for the community and environment; and instilling and

living the shared values of malasakit, professionalism, integrity; business orientation and customer care.

friendships, with profit expanding to well being.

But more than a venture of the Petron Corporation, the Refinery is involved in partnerships that go beyond business transactions. These are alliances with its human resource, -- its people -- the best asset of the three-decade-old Refinery.

The Refinery takes pride in its people who are guided by high standards whether rank and file or management. Many of the employees are Chemical and Mechanical Engineers certified by the Professional Regulations Commission. A lot of them passed board exams with flying colors.

BRUP At the Refinery, management maintains cordial and harmonious relations with its employees. The Bataan Refiners’ Labor Union (BRUP) which was established on August 24, 1961, represents the rank and file in collective bargaining with respect to rates of pay, wages, hours of work and other terms and conditions of employment. The union has agreed to secure and sustain high productivity through the highest level of efficiency and performance. The partnership is built on trust and understanding which is vital to the Refinery’s success. The current crop of BRUP members is led by Union President Eric Pangilinan. Through the years, the partnership between management and labor has transformed into strong

PIChE Over 70 employees are members of the Philippine Institute of Chemical Engineers (PIChE)-Bataan Chapter which is headed by Ryan Venzon, a shift operations supervisor. Through his leadership and the active participation of other Refinery Chemical Engineers, the local PIChE chapter has been consistently named as one of the most outstanding chapters for the past five years by the national organization. PIChE was established to foster closer fellowship among the members and to uplift, safeguard and protect through lawful means the welfare of members. It advocates the advancement of science and technology in the field of Chemical Engineering and upholds the highest standards of the practice towards achieving national development. 23


information about a sustainable marine based livelihood. The sanctuary is 7.5 hectares in size. Peninsula School. To provide an elementary education for the dependents of refinery employees, the Peninsula School was founded in July, 1960. It was established to provide elementary education for the dependents of American expatriates employed by Stanvac. Since no building was provided for the school in 1960, the first classes were conducted at Bunkhouse No. 4. Fifteen children reported for classes at different grade levels. In 1970, the present school building was finally constructed. Out of the 63, 731 square meters of the housing compound known as Lot 261-A in Limay, 5,000 square meters were set aside and are presently occupied by the school.

The Bataan Refinery’s best resource is its people

PSME. A large number of mechanical engineers are also employed at the refinery. Their contributions to the continued growth and advancement of the facility have made lasting marks through the years. The local Philippine Society of Mechanical Engineers at Bataan have many members working at the Refinery. The local chapter is headed by Juanito O. Caragay, the Safety Environment & Facilities Manager. Through his leadership, the local chapter spearheaded the conduct of seminars, technical conferences and activities promoting excellence in the practice of the profession. The local organization also received Surrounding Communities On top of its being recognized for its achievement, the Refinery is also wellknown for its community relations programs for the marginalized and the underserved. The goodwill that has been generated can be traced to its forerunners, through official efforts and individual initiatives.

AETA. Believed to be among the earliest inhabitants of the country, the Aeta are indigenous people who live in scattered, isolated mountainous parts of Luzon. They have their own language and ethnic identity. A small settlement can be found near the Bataan Refinery. Early this year, refinery officials and employees reached out to the community and conducted a feeding program. They also received blankets to keep them warm on cold nights. Some members of the Aeta community are undergoing training at the Refinery -- learning and building skills in Basic Pipefitting and Welding. The half-day sessions began last June 16, and will be completed in 12 weeks. The training, a part of our community relations effort, was made possible with the support of Vice President Freddie Yumang, Administration Manager Jimmy Santos and the Refinery management team. PANGMAMALE. There are 12 barangays in Limay. Each barangay has an organization of fisher folk, except Duale which is a

Contrary to popular notion, the school is not a branch of the International School of Manila nor of the De La Salle Schools. It exists as an independent entity managed and supervised by the Board of Trustees and the Administrative School staff.

community located near the mountains. These coastal communities of fisher folk organizations have banded into a federation called PANGMAMALE, which stands for Panguluhan ng Mangingisda sa Limay, an organization duly registered with the SEC. Incidentally, pangmamale is the name of a local fish found in Limay. In November 1990, the Refinery formalized a partnership with the group to establish a system to develop the fishing industry including support for marketing brand for its members. These are livelihood projects designed to uplift the members’ living conditions. The partnership is made more significant by agreeing to care for the environment, specifically the preservation and management of coastal and marine resources. PANGMAMALE commits to take the lead role in managing the fish sanctuary in Barangay Wawa. The Refinery is tasked to provide support for its maintenance and counter part resources-- financial support, technical expertise, signage and help disseminate

School Principal Alma Cagampang is the wife of a Refinery employee. She relates that the first and second year high school level was accredited by the Department of Education and Culture (DECS) in 1971 while the third and fourth year levels were accredited in 1973. True to the school’s mission of providing academic excellence, 100% of its students regularly pass various government examinations such as the NCEE, NEAT and NSAT. The school is one of the top performing schools in the region. There are over 400 students attending the school. Peninsula Club Hectic demands of the Refinery make it necessary for some key personnel to stay in the nearby housing

compound. Because they have to keep watch over the refinery 24/7, the Refinery provides these employees and their families with residences. There are single detached units which are spacious and comfortable. There are over thirty split level houses, with wide lawns surrounded by a golf course. Sports and recreational facilities for badminton, tennis, a jogging path, and a swimming pool can be used by those residing in the compound. For bachelors, there are six bunk houses named after major Bataan towns where they can stay. In spite of the many activities at the Refinery, employees find time to effectively balance their work and personal life, whether through formal work/life programs or through less formal means. At the Refinery, there is life after work. The Peninsula Club has Dindo Enriquez as chairman. It is an umbrella organization with several “nodes” providing a rich variety of activities for employees and their families all year round. Ladies Circle. Initially formed as an association of employee spouses residing in the housing compound, they now include female employees working in the Refinery. Headed by Len, wife of Refinery VP Freddie Yumang, they support community outreach programs. Early this year, they were part of a feeding program and gift giving for aeta children. The group organizes charity projects to help indigents, the needy victims of calamities, the aged, and the orphans. Social Club. Another group is tasked to organize social events where people from within the housing compound, the Refinery and the nearby community get to know each other better. This group spearheads birthday parties, Karaoke Nights, Valentine’s Party, and the annual family day, activities that strengthen

camaraderie and community relations. Sports Club Employees and housing compound residents who share a love for sports have formed an assortment of sports clubs with planned annual activities. These clubs provide the muchneeded break from the daily grind and foster camaraderie and goodwill among employees. They can choose to join as many clubs as they wish. The clubs can hold their activities in various venues within the housing compound and indulge in their favorite sports like golf, billiards, darts, table tennis, basketball, volleyball, softball and bowling. Employees and residents themselves organize sports tournaments throughout the year with employees and residents compete as teams. Chapel Council. This group is in charge of organizing spiritual activities. Headed by Lewelynn Go, wife of an employee, they organize weekly Sunday masses held at the auditorium. They are responsible for the spiritual nourishment of people working for the refinery. Lenten retreats, Easter celebrations, block rosary activities are some of the activities they arrange during the year. More than a business enterprise with a long history of accomplishments and achievements, the Refinery community has developed into a culture. Through the years they have formed a common set of beliefs, preferences, needs and an identity putting them together in a cohesive bind. The refinery community has taken on a life of its own, with people respecting individual differences. The community has evolved. They have become free to share themselves and secure enough to get along with others.

Alfredo E. Daulat is currently an Emloyee Relations and Communications Officer at Petron Human Resource Management Department. Previously handled change management efforts for the company’s information technology community. He believes that information and knowledge are strategic resources. The Bataan Refinery is a division of Petron Corporation, with a majority of shares owned by SEA Refinery Corporation, SEA Refinery Holding B.V., and San Miguel Corporation. RefineryMaria; Wikipedia; Petron Press Releases; Petronews From stories told by Refinery employees: Delfin Fonacier; Alex Safran; Edward Jocson; Beth Baluyot; Juliet Tranate; Alma Cagampang; Lu Batugal, and Lorna Ojeda.

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Special Feature: Petron Foundation

Cares

during parents nd their employees a rs la o h n g Aral sc SM Mall. Petro ms. ist Tulon yees ass l supplies at an ny’s CSR progra lo p m e Petron of schoo y of the compa ibution the distr olunteer in man v y regularl

by Marilou G. Erni

Executive Director and Trustee of Petron Foundation, Inc.

A

rtPetron 10’s theme, Alay sa Natatanging Pamayanan (A Tribute to Dynamic Partnerships) is at best a tribute to Petron’s commitment “to take excellent care of our community and environment,” as expressed in its mission statement.

John Ad ria proudly n Santos of Ta d n the 2nd isplays his me gos 1 Elemen da ta batch o was a f Tulong ls during the re ry School in N Tulong av Aral ng cognitio Aral sc elemen P n progra otas etro holar fr tary as m fo om Gra n graduates. Valedic John Ad r de 1 to torian. ria 6 and finished n

Through the Petron Foundation, Petron fulfills its corporate social responsibility mandate through programs that engage every stakeholder and enrich its communities:

Petron executives led by VP for Refinery Freddie Yumang, VP for Procurement Susan Yu and SVP and General Manager Lubin Nepomuceno proudly pose with the Tulong Aral ng Petron valedictorians during the graduation of the second batch of Tulong Aral scholars in March 2010.

Petron employees distribute lugaw (hot porridge) during a soup kitchen to families in Pasig City displaced by Typhoon Ondoy. Petron was among the first companies to provide assistance to victims of the flood.

• TULONG ARAL ELEMENTARY SCHOLARSHIP PROGRAM. Our Tulong Aral ng Petron program, which is now on its eighth year, focuses on a long term and holistic program that sends poor children to primary and secondary schools. Its scope also extends to the professional development of teachers and school administrators, and the collaborative engagement of various parent and community stakeholders.

Our scholars, in turn, have responded positively to the scholarship. At the end of school year 2008-2009, 389 scholars out of the total 5,979 or 6.5% were rated “outstanding” and 36 were awarded first honors. Of the 1,137 scholars who graduated, 128 or 11% were outstanding and 19 students were recognized as valedictorians, salutatorians, and first to third honorable mention.

A key component of Tulong Aral is the Mentoring Program. In 2009, we had a total of 183 mentors: 113 second-year students of the Ateneo de Manila High School, and 70 first year college students from UP Manila.

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By sending a batch of 1,000 scholars to public elementary schools each year since 2002, Tulong Aral tries to address some sobering statistics on the country’s education system by improving completion and participation rates. As of end-2009, we have sponsored a total of 6,054 Tulong Aral ng Petron scholars who receive benefits, including books, school supplies, uniforms, and daily meal allowances, as well as capability building and livelihood programs for their parents.

PROGRAM PARTNERS – Department of Social Welfare and Development, Department of Education, World Vision Development Foundation, SM Retail, Inc., Philippine Psychology Research and Training House

• TULONG ARAL HIGH SCHOOL SCHOLARSHIP PROGRAM. Petron continues to send top Tulong Aral graduates to secondary school under the Tulong Aral High School Scholarship Program. This program currently provides high school scholarships to 293 youths in 21 public schools in Metro Manila, and shall continue to give high school scholarships to Tulong Aral honor graduates from the elementary level.

PROGRAM PARTNERS –Land Bank of the Philippines, Department of Education, Department of Social Welfare and Development, Philippine Business for Social Progress

• PETRON SCHOOL answers the need for classrooms in the most remote or conflict-afflicted areas in the Philippines. Starting in 2002, PFI has built 81 classrooms in 21 Petron schools throughout the country.

PROGRAM PARTNERS – Department of Education, Philippine Business for Social Progress 27


Public elementary teachers attend an enrichment workshop as part of the teacher training under the Petron Gurong Kaakbay program in partnership with Sa Aklat Sisikat Foundation.

Tuyan Turn over - Turnov er of compl Brgy. Tuya et n, Malapat an, Sarang ed USAID-Petron Scho ani Province ol to benefic . aries of

• USAID-PETRON SCHOOLS. Petron entered into a partnership with the United States Agency for International Development (USAID) for the period 2007-2011 for the construction and repair of classrooms in 39 municipalities in Region 9, Region 12 and the Autonomous Region of Muslim Mindanao (ARMM). The partnership commits to construct 120 classrooms and repair 480. Since 2007, we have constructed 48 classrooms and repaired 192 classrooms under this cooperative agreement. Petron’s participation in providing access to education has a significant contribution to the peace and development program for Mindanao, especially in areas most affected by conflict and poverty.

Tulong Ara l hi and Land Ba gh school scholars ta ke part in nk of the Ph a leadersh youths in 2 ilippines ar ip tra 1 public hi e supportin gh schools g the contin ining program. Petro in Metro M n ued educat anila. ion of 293

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PROGRAM PARTNERS – United States Agency for International Development/ Philippines, Habitat for Humanity

• TEACHER TRAINING. Petron is also in the second phase of its cooperative agreement with the USAID for the International Youth Foundation– Education and Livelihood Skills Alliance (IYF-ELSA). Through our partnership with the Notre Dame of Marbel University, we have trained 1,596 teachers, trainers and mentors in strengthening their capabilities in teaching English, Math, and Science. The program, likewise included capability training of 127 school administrators in the areas of finance, management, and governance. Petron Foundation also continues to partner with Sa Aklat Sisikat Foundation (SAS) to help build a nation of readers. SAS works with public schools all over the country, enabling teachers to serve as advocates and change agents, thereby motivating students to make reading a part of their daily lives. PROGRAM PARTNERS – USAID/Philippines, International Youth Foundation–Education and Livelihood Skills Alliance (IYF-ELSA), Notre Dame of Marbel University, Sa Aklat Sisikat Foundation

• ENTREPRENEURSHIP EDUCATION. Petron’s contributions to sharing the gift of education extend to the secondary

Nations Development Programme (UNDP).

and tertiary levels, with entrepreneurial education as its focus.

PFI implemented the Youth in Entrepreneurship and Leadership Development Program (YIELD) for the fourth year. Since 2005, a total of 267 3rd-year MBHS students have undergone the 24-hour on-job-training on forecourt operations and food service in five Petron COCO (company owned and company operated) stations. PFI also holds mentoring sessions for senior students of MBHS, with the participation of Petron employee volunteers and notable entrepreneurs. PFI also collaborated with San Beda College Manila (SBC-Manila) and the Department of Education-National Capitol Region (DepEd-NCR) in conducting the first Skills Enhancement Training Workshop for Teachers of Entrepreneurship in Public Technical/ Vocational (Tech/Voc) Secondary Schools. This new curriculum, which was patterned after the Competency-Based Curriculum developed by Petron for the Muntinlupa Business High School (MBHS), piloted in 282 public secondary schools nationwide. Petron employees served as advisers to the Junior Achievement Philippines Inc.’s (JAPI) mini-company program on enterprise education, where participating university students undergo training on business management. The eigth-month program has the equivalent of six (6) units in the schools’ curriculum. PROGRAM PARTNERS – Petron Marketing Corporation, Muntinlupa Business High School, Department of Education, Technical and Educational Skills Development Authority, San Beda College-Manila, Junior Achievement Philippines Inc.

• The Bataan Integrated Coastal Management Program, a comprehensive and long-term program, aims “to manage the coastal and the marine resources of the province and, in the long term, help rehabilitate the Manila Bay.” The ICM program is a long-term endeavor that is part of the Regional Partnership in Environmental Management for the Sea of East Asia (PEMSEA) under the United

The program is sustained through the partnership among the Bataan Provincial Government, the Private Sector (led by Petron), organized into a group called the Bataan Coastal Care Foundation, Inc. (BCCFI) and PEMSEA.

With the assistance of BCCF and PEMSEA, the province formulated the Bataan Sustainable Development Strategy (BSDS) and the Bataan Coastal Land and Sea Use Zoning Plan (CLZSUP), key documents that provide the Province with the roadmap and tools to effectively resolve Bataan’s environmental concerns.

PROGRAM PARTNERS – Global Environment Facility-United Nations Development Programme-International Maritime Organization Regional Partnership in Environmental Management for the Sea of East Asia, Province of Bataan, Bataan Coastal Care Foundation

Beyond Bataan, our Operations personnel have made caring for the environment both a culture and a commitment within their ranks. This continues to be manifested in the regular conduct of environmental programs in all our depots and terminals nationwide.

• Petron is also engaged in health and nutrition programs that benefit the immediate communities of the Petron Bataan Refinery, depot, and terminals. These programs include putting up health centers and conducting medical missions and medicine donations to barangay health centers. It also involves being at the forefront of providing relief assistance during disasters. • There is also continued support to Lakbay Alalay, the 21-year, Marketingled motorist assistance project that has become a tradition for people trekking to the provinces during the Lenten break.

At the heart of Petron’s success in its CSR endeavors is the active involvement of its faithful and steadfast partners, the Petron employee workforce. As much as 80% of the company’s 1,347 employees actively volunteer in our CSR programs. 29


People

H

The

erwig “Wig” Tysmans, the Philippines’ top portraitist and commercial photographer, has been at the forefront of the crusade to develop photography into a respectable and modern art form in the country. His fight has brought him kudos from his peers in the art scene like close friend National Artist Bencab and film maker Romy Vitug, both who have seen him push for the recognition of photography as a serious category of art for 35 years.

Wig, as he is fondly called, laments the fact that no Filipino photographer has ever been conferred the prestigious honor and title “Philippine National Artist”. Today he adds, photography is not even one of the recognized seven art forms that constitute the National Artists’ Awards. It is in fact only one of the many subjects under Visual Arts.

of

Wig Tysmans by Jay Bautista

Where and how did Wig get this passion for photography?

“PHOTOGRAPHS ARE PERHAPS THE MOST MYSTERIOUS OF ALL OBJECTS THAT MAKE UP AND THICKEN THE ENVIRONMENT WE RECOGNIZE AS ‘MODERN.’ PHOTOGRAPHS REALLY ARE CAPTURED AND THE CAMERA IS THE IDEAL ARM OF CONSCIOUSNESS IN ITS ACQUISITIVE MOOD. TO PHOTOGRAPH IS TO APPROPRIATE THE THING PHOTOGRAPHED. IT MEANS PUTTING ONESELF INTO CERTAIN RELATION TO THE WORLD THAT FEELS LIKE KNOWLEDGE—THEREFORE, LIKE POWER.” - Susan Sontag, On Photography

The Beginnings It was in 1971 that 15 year-old Wig discovered his love for photography. He was then in fourth year high school in Dumaguete. With a borrowed Olympus PenF camera, he took photos of his batch mates which were to be featured in the school yearbook, and was amazed at how much he enjoyed the assignment, and how good his pictures were. That same year, he fell in love again – this time with the City of Pines, Baguio City -- and its cool climate, rich culture and the warm hospitality of its people. He convinced his parents, a Belgian father and Ilocano mother, to allow him to enroll there for college. Unable to find a school that offered a fine arts college course that had an artistic curriculum, Wig settled for the second best program at the St. Louis University – Architecture. In St. Louis University, Wig lost no time in developing his craft. Together with four other Engineering and Commerce friends, he formed a cooperative on campus that charged a P25 fee for photos and an additional P20 for a 20” by 24” blow up. “We were into business because we wanted to buy our own equipment,” Wig reminisces. “We made more than a hundred blow-ups, and made good money.” A Nikon F with a 50 mm lens was his first gift to himself from earnings. In time his friends became more interested in their courses while Wig took frequent and longer trips to the darkroom. Eventually, Wig went full time after college and converted his extra bathroom into a bigger dark room. Among his early jobs were documentary work for countryside publications, magazine assignments, and was a stringer for the Associated Press for three months to cover the World Chess

Championships between Korchnoi and Karpov in Baguio. On his own in 1976, Wig started doing portraits for old people who migrated to Baguio before World War II. Since he had access to them, he was successful in having them pose for photos, material that would one day be for his one-man show. Among them were Robert Fox, Mr. and Mrs. Chan of the Old Pagoda, and the Ifugao Lam-eng who wore G-string to Congress. This he did from 1977 to the early 1980s. Writer Eric Caruncho wrote of Wig: , “Wig became part of an emerging art scene that included fellow photographers Tommy Hafalla and Mannix Santos, filmmakers Boy Yñiguez and Kidlat Tahimik, and painters Bencab, Santi Bose and Roberto Villanueva. His early influences were painters: modernists such as Roberto Chabet and Lee Aguinaldo whose works exhibited a zen-like simplicity and straightforwardness that Tysmans sought to emulate in his photographs.” Wig reflects: “Malaki ang influence ng Baguio. Iba ang culture sa Baguio kasi yung mga artists magkakalapit studios or nasa cafes. Unique in a sense is that we were all respected artists in a group but we were opinionated. You could hang out and discuss ideas which hindi mo magagawa sa Manila. The environment itself was conducive to the arts as it was rich in the indigenous culture of the Cordilleras. Plus there was a constant influx of tourists, allowing for the blending of influences from Europe and America. We could also go to Camp John Hay Library and see photos.” In 1981, through the help of Don Jaime Zobel de Ayala, Wig was finally able to organize a group show for the Baguio Photographers Group at the Ayala 31


Left: Wig with the President Cory Aquino and her son, Benigno Aquino, now the Philippines’ 15th President. Below: Taking the photo of Senator Richard Gordon.

Museum. He eventually exhibited his portraits for his first one-man show also at the Ayala Museum in 1984. This same show would later tour Philippine embassies in and consulates in the US such as San Francisco, Chicago and Washington. His manager and curator then was artist Arturo Luz, who is now a National Artist. By this time, there was no stopping the boundless energy of Wig. His next show was bigger and better with 90 portraits of writers and artists, some even in the nude, at the Goethe Institute in Quezon City. With the overwhelming acceptance to his work, commercial assignments easily poured in. “Fashion photography was the closest thing to portraiture which was what I really liked. It was then the ideal direction for me. Press photographers were the only ones doing fashion photography then. Sila lang yung may access sa newspapers, Sunday magazine and Lifestyle sections. Through my fashion work I ended up doing major portraiture. Subsequently since show biz is related to fashion, that followed too. Book photography came in as well.” Wig adds.

One Light Source “The hallmarks of a Tysmans photograph are a minute attention to detail and a flawless technical sheen. Through Wig’s mastery of the subtleties of lighting, the photographer manipulates light and shadow to throw one or more particular features in bold relief while keeping others intriguingly swathed in various shades of light and dark. Through his mastery of darkroom technique, these qualities are brought out and enhanced in the final, museum-quality print,” wrote Caruncho.

Early on Wig admits his inspiration were all foreigners such as the portraits of Richard Avedon and Eugene Smith who was a war correspondent. He clarifies though that he does finer versions in his attempt to be different. Wig stresses: “For example Irving Penn, when I shot Sinaunang Habi, he was my influence. I even brought my back drop with me while shooting ethno-linguistic communities which were what Penn did when he was shooting the Indian tribes in Peru and in the Andes, pero syempre iba yung approach.” Equally lauded are his nudes. “I like it because it is the most basic, wala kang dadamitan. Walang mag-didictate but I have to catch the character of the person. I have a way of making him relax with me and capture his soul. That’s why I favor artists as subjects because they are willing as they trust me,” emphasizes Wig who is known for his signature borders from his Hasselblad bracketing and his having a-one-light source. Wig has done collaborative work for people in other disciplines. For example with florist Antonio Garcia, “Ako nagpapalabas ng form, ilalagay niya yung elements like flowers and chili. Sometimes the drive is not for an exhibition but more of an exercise. Depending on the magnitude, the body of works could in the long run be for a show.” Nearing the landmark age of 60, he is planning to do another show of portraits but this time with more of people of our time and many of them new personalities.

Wide Opening For Wig, a good photograph should tickle the imagination of its viewer. It must make him or her wonder, question and be amazed at how it was created - for sometimes the photo speaks for itself. He adds “the really nice photographs are the ones that you remember after a week, a month, a year. These are the types of photographs that become iconic.” Wig’s aesthetic sense leans towards the stark and macabre. “If the image is dark, I sometimes wonder why he did it because if that was the situation or is it because he

wanted to portray something to establish a mood? As a photographer you will have to know the intention.” “When digital photography came out ten years ago, hindi ko feel,” Wig further confesses “Some of my friends, kahit 3 mega pix bili sila. It cost a lot of money. At that time kaya naman ng film, just drumscan in Hong Kong. Purist ako. Bangko Sentral’s Ginto book, which Studio 5 Designs, the book publishers, commissioned me to shoot, was my first venture into digital. The experience convinced me that I could shoot something reflective in digital format.”

His early photographs were portraits of his artist-friends such as the late Baguio -based artists Santiago Bose (center) and Roberto Villanueva and his son (lower left).

Wig has been an ArtPetron judge since photography was added as a category seven years ago. “I like the idea of competition because even in school, we had to compete. It’s like getting A’s in your classes. It is a very big boost; competitions are healthy, it is needed. And who can only give this competition, except for companies like Petron because it is not cheap to mount an annual contest and it entails a lot of money to organize this, advertise it, even just to get word around to promote it.” Wig concludes, “When I was starting out, there were no local competitions, puro international lang at para kang dumadaan sa butas ng karayom. ArtPetron indeed has been a creative way to recognize achievers. The competitive spirit of the student is always enhanced because it is a big nation-wide contest. Plus you don’t have to spend. ArtPetron is free of charge; the only expense you have to spend for are materials for your entry. ArtPetron even has pick-up points, which takes care of delivering to the ArtPetron secretariat. ArtPetron is one of the most prestigious and most accepted in the industry for winning artists. I really hope and pray it will continue because it is doing a great service to the Filipino people.” Just when photographers his age are looking forward to retirement, Wig is looking forward to a busy season of new projects, which he hopes will bring him closer to the goal of having photography evolve into a modern art form much like painting.

The nude body has been Tysman’s passion. Shown at top and left are samples of his recent collaboartive works.

Jay Bautista is the Project Development officer of Studio 5 Designs, which serves as AretPetron Secretariat.

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33


People

Mr. Big Heart:

Raul Isidro

Whatever his season, he continues to be Mr. Big Heart to everyone. He mentors young artists, lends counsel to fellow artists whenever needed, heads art groups, is a caring friend at all times, just to name a few of the myriad reasons why he is beloved by many.

How fast do you work? My work ethics has not changed. I like to work fast and I paint horizontally. In fact at a recent UNESCO International Art Camp

in Andorra which was participated in by 40 delegates representing 24 countries, my counterparts were amazed at how fast I could transfer my ideas into paintings. What took some to execute in two days, I did only in half a day. There was an artist na dalawang araw, hindi pa nagsisimula. So I told Al (Perez, codelegate from the Philippines), “Kaya natin ito. Kung sa pabilisan, kaya natin ang mga Europeans.” In fact they were so impressed that some delegates invited me to take the train to their respective countries (Andorra is a small country between Spain and France) for possible exhibitions in the art galleries they are represented. Makikita mo na pag na appreciate ka, nakikipagpalit ng trabaho.”

When did you want to be an artist? When I was growing up in Calbayog, even at a young age I was fascinated with the visual images of my hometown. The townsfolk would gather to decorate the many religious carozas and stages during fiestas all throughout the year. I also collected wall calendars with the Amorsolo scenes. Even painters doing movie billboards for a nearby theater made an impression on me. What amazed me was how they would mix powder and flour and paints to produce certain colors to achieve a desired effect. I also had a relative named Gregorio “Tio Gorio” Bartolome, who owned a carinderia in our town. He filled the walls of his eatery with his paintings. I learned he took up fine arts in UP but was not able to finish. He was in fact a classmate of Botong Francisco. I first studied Architecture at the University of Santo Tomas, however during my second year, I shifted to Fine Arts. The lure of the visual arts won which earned for me the ire of my parents. Since my allowance was stopped, I had to support myself by doing odd jobs including as a janitor at the Department of Health (DOH) for ten months.

I

t was a treat spending the afternoon at Raul Isidro’s home– a three-story edifice which was once a bodega, now converted into a modern studio with high ceilings and wide open spaces where the cool breeze from Laguna de Bay wafts in and out at any time of the day. It’s Raul’s dream place – a place of peace and quiet where he tirelessly creates his abstract art from morning till night. Today, he shows off his Gold Leaf series of dazzling artworks luminous in gold. The square thin sheets of gold leaf are his willing subjects to create a landscape that can only exist in the mind of an artist. A number of unfinished canvasses in black accented by orange or yellow await their turn to be touched by the master. Raul Isidro is obviously enjoying a new season of great ideas that will be transformed into great paintings.

34

Raul is known for his use of colors and his conscious play of colors and lines that originated from his creative imagination. Shown here are his recent art works. Another work is Red Square which is an example from his gold leaf series.

35


Raul Isidro, together with Al Perez, participated in the International Art Camp: The Colors of the Planet in Andorra last July 18-29, 2010, which was participated 40 delegates representing 24 countries and sponsored by the UNESCO.

I also assisted my professors like Larry Tronco who moonlighted for multi-national corporations. After school, we would design collaterals of their products. Sometimes I would go without sleep and go straight from our free lance jobs to my first class at seven in the morning. Fortunately, it was Prof. Tronco’s class.

Did you join art contests in your youth? Yes, of course. Joining art competitions and winning them was a means to earn extra money. I favored on-the-spot painting competitions in schools because the financial reward was instant and the fame was school-wide. In fact aside from the medals and free exhibition space, I looked forward to the awards night because of the art collectors that often attended these events. More than Filipinos, US Embassy officials were the first ones to appreciate my works. The year 1968 was a landmark year because my work, Apocalypse, a 2ft x 2 ft work in stone, won second in the first national sculpture competition sponsored by the Art Association of the Philippines. One of the judges, Alfredo Roces said that had it been bigger in size, it would have easily won the first prize (which was won by a collaborative work of three artists). In 1972, I won again but this time the grand prize in the first national printmaking competition by Printmakers Association of the Philippines. The late National Artists HR Ocampo was one of the first to appreciate my works when I was starting, Mang Nanding had one advice I would never forget, he said, “Raul, ang art mahirap. Yung paintings na ginagawa namin after the war, sukat kamay hanggang kilikili. Pag mas malaki, mahirap ilako. Mahirap magpinta, di madali.” 36

How did you start teaching? In my desire to paint and with the promise to be given space to paint, I first enrolled at the Philippine Women’s University in 1969. Dean Mariano Madarang who was also a practicing artist invited me to teach as well.

Pagkagaling ko sa opisina, pinta muna, habang nagtuturo ako. In fact, nasa tapat din yung Printmakers Association of the Philippines (PAP) ni Mang Maning (Manuel) Rodriguez Sr., so tumatawid lang ako. Dito umikot ang mundo ko. Supportive ang mga Benitez sa akin. Marami kang matutunan sa pagtuturo kasi yung mali ng estudyante, pinagaaralan mo. After 5 years, ako na head ng Fine Arts sa PWU.”

How did you develop your style of abstraction? It was in PWU where I first experimented and where most of my various visual styles gained ground. I was into print making and

paper embossment and also explored acrylic on metal etching by this time.

“The style of the artist, darating yan. Hindi ninyo naman hinahanap yan. In the 1970s dumating yung abstract. I know when I painted my work. I have a blue period. Yellow period. Now marami. Nung una mahirap ang pintura, there is no art store just selling materials only. No materials imported. With the invention of acrylic in 60s I shifted kasi walang amoy unlike oil masakit kasi sa ulo yung linseed. “ My first one-man show was in Solidaridad Gallery in M.H. Del Pilar but I exhibited regularly at the Luz Gallery which was a blessing since there are only twelve artists who can have a show at that gallery in a year. My first abstracts were mounted on wood with molding paste, acrylic experimenting on texture. Not so long after though not just one but two fires (one in Manila and the other in Calbayog) ravaged all my early works most of them 2ft x 3ft in size including my equipment and welding power tools.

What are your important style periods? Looking back at my 40-year output, I consider my Mangyan and Festival series as the most significant. In Mangyan series (more than a hundred produced between 1970 to 1976) I explored the expressive and formal possibilities of ancient script of the Mindoro tribe. They were experiments on texture. I consider this my Darker period as my works were mostly in earth colors (olive green, brown, and blue) which I showed at the Luz Gallery. The Festival series followed with corresponding colors of yellows and oranges, brighter ones this time. It was in a Chinese restaurant that I got the inspiration for a round canvas. “Why don’t I create a round canvas? In my Festival series which I did on round canvases, yung canvas kwadrado, binibilog ko ang composition. Nung huli naisip ko pwede pa lang bilugin ang canvas. Nung start ako bilog na canvas, maraming sumunod. In the 70s, may mga tao na ako.

Karpintero, may pintor ako kayang kung gaano kakintab yung kotse, ganun ka kintab painting ko. Parang sa refrigirator. Industrial painting ginagamit ko, yung lacquer. Gusto ko malinis, inspired by the process of print making.” Of late, I continue to explore my gold leaf technique which is the technique used by the artisans in the colonial times when they were making retablos or relief altars. One has to be attentive to the shades in the artwork because at different times of the day, there is a play of light in the artwork.

What is your advice to young artists? If at my age I can be as disciplined as when I was starting, then I abhor the opposite -- people who paint because there is a buyer or paints only for shows. My advise to them: “Dapat may preparation ang artist. Wag natin hintayin ang tag-ulan, para safety ka rin. Natikman ko magpasko ng matigas na tinapay. Lahat yan pinagdaanan ko. Nakita ko

mga teacher ko, mga sikat na artist naghirap. Kaya sabi ko sa sarili ko hindi ko mararanasan ito. Nakita ko nang mahirap, babalikan ko pa?

You have been our judge for six ArtPetrons, how was the experience? “Isang tingin mo lang sa painting alam mo na na mananalo. Basta malinis ang rendering, may marumi na maganda, e. Yung iba naman yung nanalo this year yun ang gagawin next year. Yun ang trending. Kapag nangopya ka, baguhin mo. Ako depending dun sa composition. Hindi dahil abstract ako, abstract mananalo.” ABOVE: Shown here are his personal collection that hang in the living room of his home, the vertical piece is Red Earth and the horizontal work is View from My Room. Raul’s work establishes subtle solitude, tension, or even equanimity yet all convey the sense of delight in the painter’s free brushstrokes as his art intensifies as one looks long and hard at them.

37


W

Students Speak

hat

Means

to me...

llege of my co en part e b s a h n previous ArtPetro ck at my a b k o lo nI been so life. Whe itted, it’s m b as su s k contest h artwor how the e se ore m to d g an fulfillin be better to e iv r st e made m rt. s of my a u io consc Cuenca d (2008) e Bacolo -- Maria ll a S a L ty of St. Universi

ArtPetron is like a “Gladiator Arena,” (art competition) where only the powerful and skillfull warriors survive. Participants coming from different places, makes victory sweeter and more meaningful. Art Petron1 winner, Ricky V. Ambagan (2010)

ArtPetron touched our lives when the ArtPetron Team visited Tarlac State Univers ity. They were so encouraging to student s. Nakakawili sumali! -- Rachelle Simon Tarlac State Univers ity (2009)

Through your wall calendars, ArtPetron has taught us to appreciate contemporary art most especially those who do not have much art centers and art galleries in the provinces. -- Manuel Fulgencio Santos TUP Manila (2009) “ArtPetron is a crucible for budding artists, where they are tempered and tested to prove their mettle…focus on the youth is highly commendable…the area of creativity is where critical values are conceived and standards are set.” Rosario Bitanga-Peralta Dean, Institute of Fine Arts and Design Philippine Women’s University (2005)

38

The wall and desk calendar designs are rooted in our culture. It reminds us of who we are and what we are as a people and that we must never forget. -- Marco Peña Asia Pacific College (2010)

ng laggi a FX S . a n s a ro rtPet n laging n amer. ng A i a re t m d s a e i . ol n pat mot o s o r bmit r h e c p t s ag-su pos . Sa Well a o m g k g g a m p ini d ang retariat narir c boar e s n i t g e n ) bull pa a (2003 ikaso PUP , n Maas a u San J bert -- Ro

ArtPetron is not only a contest but also a challenge to all student-artist to come up with his best artworks, with his brus h close to his heart and being Filipino in mind . - Bien Muhlach, EARIST (201 0)

“It is reassuring that a corporat e giant like Petron en courages and su pp orts the development of a culture of ex ce llence. Most endearin g perhaps, is th e op portunity that has been extended to st udent artists to prove ideas, concretize and temper techniques ac quired throug h school and self discovery, communicate and get to know their pe ers.” Roberto B. Fe leo Professor – Uni versity of the Philippines – College of Fine Arts (2008)

Before, I didn’t know how and when to start my dream in showing my ability to paint because all I wanted was to enhance and give inspiration to those who wanted to learn more about the beauty of art. Until ArtPetron opened the doors and gave encouragement to build our dreams and show our talents of what art is. Now, I see no reason to set aside all the opportunities, for the people to recognize our innate talents, and for building patriotism in us. In what way can we thank ArtPetron? Godbless Art Petron! Always! Krisa Jayde Pigao Technological Universirty of the Philippines Manila (2010)

Af ter my photos were fe ted in ArtPe t ron for t wo consecuti ve ye ars, opportunitie s became v isible like stars in the night. This succe ss paved the way for me to recei ve an award that most Thomasians dre am of— the Benav ide s Award for Outstanding Achie vement. This was gi ven to students who achie ved recognition outside the Uni versit y. With my natural eye for photography, se veral projects within the Uni versit y came rushing in. With ArtPe t ron, I was able to e stablish a sense of credibilit y—with people looking at my own picture s, as well as the name beyond it. Paul Quiambao Photography Editor The Varsitarian UST (2010)

n me the ho has give eople w rt Petron A ere are p g th t in a n th e Win d ri p d ent an excitem ork. te my w apprecia h, it’s the g thoug t t winnin u o differen b t a e s e y m lwa ance to akes m It’s not a ch t e a th th d ce an of view e experien ill inspir nt point people w ith differe ires sp in people w Eventually, those It s. of friend h it. art wort en me our circle n has giv ecome y o b tr d e n P a rt u A e. I may yo s. m rk ti o e w lif rt a of ore a erience ion for to do m xp ss e a p & y y m ortunit now but t” is the opp rt a “fulltime ere. not be a ys be th will alwa g n ti in a p (2010) London elen based in w o Yveese B N r, e n 1 winn ArtPetro

ArtPetron concentra tes on the important more themes in Philippine life and ho w we Filip inos should live. Becau se of the co ntest, I appreciate d our cultu re better. -- Edward Masilang, UST (2010)

ArtPetron gives us the opportunity to show our relevant ideas, unleashing inspiration and creativity in the art scene. Let us all support Art Petron once again as it has supported us all these years. Let us be a part of this once in a lifetime art memory which should never end. Tristan Bryan BFA Bulacan State University (2010)

an art contest, it is a ARTPETRON is not merely of sharing lives, fulfilling heART contest. Ten years Filipino Youth’s the dreams, and upholding indispensable part an is it — arts the passion for of our society. -Taguig (2010)

Karl P. Albais. 4-BS ECE. TUP

y of expressing ArtPetron is a simple wa ecially in the field esp st Filipino talents mo phy and the of arts (painting, photogra wcasing how sho l, cia like) Simple yet spe talented, patriotic Filipinos are skilled and outlines Philippine and culture-oriented. It a picture the lives of history for it resembles our countrymen. Reuben Caringal Nurse Center (2010) Mary Mediatrix Medical

39


ArtPetron Bulletin

ArtPetron

W

winners

Left to right: Ricky Ambagan , Romeo Forbes, Yveese Belen, Romeo Rosete III, Robert Besana and Orley Ypon.

1 (2001)

Lumang Laro, Bagong Likha Robert Besana (PWU Manila)

is now Director of School for MultiMedia Arts at the Asia Pacific College. He recently had his 2nd one-man show at the Nineveh art gallery in Sta. Cruz, Laguna.

Left to right: Mark Salvatus, Jaime Gubaton, John Paul Antido,

Yveese Belen (UST)

in on art scholarship in London. She still paints during her free time. Ricky Ambagan (UP Diliman)

is a full time artist. He recently had his 2nd one-man show in Gallery Anna in SM Megamall. Romeo Rosete III (UP Baguio)

is a full time artist in Baguio.

Lumang Galing, Bagong Sining John Paul Antido (UP Diliman)

is a full time artist and member of Sangviaje art group based in Antipolo. He had a solo show at the Ayala Museum in 2009. Antonio Totto Jr. (PUP Manila)

is a full time artist.

is now a full time artist and had a show at the SM Art Center this August 2010.

Mark Salvatus (UST)

He passed away at the age of 21 but his paintings continue to be much sought-after.

Antonio Totto Jr., Parker Encisa and Joey Cobcobo.

2 (2002)

Orley Ypon (UP Cebu)

Romeo Forbes (UE Caloocan)

40

here are they n

is a full time artist. He had artist residencies in Korea, Thailand, Turkey and Spain, and is also a multi-awarded book illustrator. He recently won in the Ateneo Art Awards.

w? Left to right: Ian Cheng, Rexell Livelo, James Neil Viola, Ada Venci, Fernando Ramos and Clint Normandia.

3 (2003)

Joey Cobcobo (TUP Manila)

is a full time artist. He was named one of the upcoming young artists to watch. Recently he was short-listed for the Ateneo Art Awards. Jaime Gubaton (UE Caloocan)

is a full time artist based in Caloocan City. He is now a member of the Saturday Group of Artists. Parker Encisa (FEU)

is a full time artist.

Lumang Tanawin, Bagong Likhain Fernando Ramos (Tarlac State Univerity)

is a full time artist now working in Bahrain. Ian Cheng (Dominican College)

Rexell Livelo (PWU Manila)

is a multi-media artist.

is now an artist based in Canada.

James Neil Viola (New Era University)

Ada Venci (Lourdes College Cagayan de Oro)

is a full time artist and gives art workshop to kids.

Businesswoman in Cagayan de Oro. Clint Normandia (Cebu Academy of the Arts)

Full time artist based in Cebu. Heads the Cebu Artists Society. 41


Left to right: Darby Vincent Alcoseba, Jose Pempe Ybañez, Rochelle Cruz, Florentino Impas, Orley Ypon and Emmanuel Servito. Inset: Charles Buenconsejo, Guijo Dueñas, Kym Sanchez and Pacifico Jose Jr.

Left to right: Judeo Herrera, John Paul Antido, Mark Andy Garcia, and Romulo Oñate. Bottom: CJ de Silva, Dorothy Tabaque,

4 (2004)

Lumang Ani, Bagong Sali Painting Emmanuel Servito (UE Caloocan)

is a full time artist. He will have his first one-man show in November. Florentino Impas (Cebu Academy for the Arts)

is a full time artist in Cebu. He had a solo show in 2009 at the SM Art Center. Jose Pempe Ibañez (Cebu Academy for the Arts)

is a full time Artist in Cebu. Darby Vincent Alcoseba (San Carlos University)

Jeffrey Salon, Nomar Miano, Mark Lester Cayabyab Charles Buenconsejo and Pacifico Jose Jr.

Top from left to right: Angelo Tabije, Clarence Cantiveros, Arturo Sanchez, Jacklyn Wong, Antonio Totto Jr. and Judeo Herrera. Bottom: Dave Buenconsejo, Maria Charmaine Layno, Hilarious de Jesus, Marilaine Claudette Gapal, Romulo Oñate and James Brian Ona.

5 (2005) Photography Charles Buenconsejo (UP Cebu)

is a full time photographer. Guijo Dueñas (Western Visayas Institute of Science and Technology)

is a full time photographer. Kym Sanchez (FPPF)

is a full time Photographer based in the USA. Pacifico Jose Jr. (FPPF)

is a full time photographer based in Singapore.

6 (2006)

Lumang Samahan, Bagong Kahulugan

Charles Buenconsejo (UP Cebu) (Also a winner in ArtPetron 4)

Alay sa Sining Pinoy

Painting

Mark Lester Caybyab (PUP Manila)

Painting

Jeffrey Salon (PWU Manila)

is a full time photojournalist for the Philippine News Agency.

Angelo Tabije (UP Diliman)

is a full time artist in Bicol. He recently had two-man shows at Artis Corpus Gallery and Nineveh Art Gallery.

Photography

Dorothy Tabaque (Rizal Technological Institute)

is a full time photographer in Rizal. John Paul Antido (STI Antipolo) (Also a winner in ArtPetron 2) Judeo Herrera (Tarlac State University)

is a full time artist completing commissioned work in the Kingdom of Saudi Arabia. CJ De Silva (UP Diliman)

has exhibited at Forth Gallery in Singapore and will have his first one-man show at Kaida gallery in November.

is a full time artist based in Cagayan. Pacifico Jose Jr. (FPPF) (Also a winner in ArtPetron 4)

Arturo Sanchez (TIP Manila)

is a full time artist.

Full time artist. Recently had his 2nd one-man show in Blanc Art Space.

works in DDB Advertising.

Judeo Herrera (TSU) (Also a winner in ArtPetron 5)

Nomar Miano (UP Cebu)

Jackylyn Wong (TUP Manila)

is a full time artist completing commissioned work in the Kingdom of Saudi Arabia.

is a graphic designer.

now works in a hotel in Cebu. Rochelle Cruz (UP Diliman)

is a practicing architect. Orley Ypon (Also a winner in ArtPetron 1) 42

Dave Buenconsejo (Java Computer College)

is a Computer Engineering student. Maria Charmaine Layno (FPPF)

Clarence Cantiveros (TUP Manila)

Romulo Oñate (FEU)

Photography

is a full time photographer. Hilarious de Jesus (UST)

is a practicing nurse. Marilaine Claudette Gapal (San Sebastian)

works in Export Industry Bank. Romulo Oñate (FEU) (Also a winner in ArtPetron 5) James Brian Ona (PUP Manila)

is the official university photographer of PUP Manila.

Antonio Totto Jr. (UST) (Also a winner in ArtPetron 2)

Mark Andy Garcia (TUP Manila)

is a full time Artist. Had his third solo show at the West Gallery in April 2010.

43


Top from left to right: Emerson Guiam, Raffy Napay, Dave Alcon, Jemerson Magay, Jo-ann Bolis and James Brian Ona. Bottom: Gerald Mungcal, Ronald Jeresano, Julmard Vicente, Dave Arjay Tan, Marilaine Claudette Gapal and Dave Buenconsejo.

7 (2007)

Alay sa Pistang Pilipino

Painting

Painting

Raffy Napay (EARIST)

Ronald Jeresano (PUP Manila) (Also a winner in ArtPetron 7)

Dave Alcon (TUP Manila)

is a full time artist. He will have a show at Kaida Gallery in October. Emerson Guiam (Tarlac State University)

is a Fine Arts student. Julmard Vicente (UE Caloocan)

Photography James Brian Ona (PUP Manila) (Also a winner in ArtPetron 6) Dave Buenconsejo (Java Computer College) (Also a winner in ArtPetron 6) Marilaine Claudette Gapal (San Sebastian College)

Jo-ann Bolis (FPPF)

Gerald Mungcal (Tarlac State University)

is a full time photographer. She won in an international photography contest in New York.

is a full time artist based in Tarlac. Jemerson Magay (Asia Pacific College) Ronald Jeresano (PUP Manila)

Blaine Louie Rosales (UST)

is a web designer and participates in group art shows. Christian Erick Villaruz (TUP Manila)

is a fine arts student. Gerald Mungcal (Chasse Arteskwela) (Also a winner in ArtPetron 7)

works in a bank in Makati.

is a full time artist. He recently had a show in Singapore.

is a full time photographer.

is an Architecture student. Dave Arjay Tan (UE Caloocan)

is a Fine Arts student.

Christian Erick Villaruz, Alex Ordoyo, Rommel Ramota and Mary Rose Angeline Lim, Alexa Remalante,

8 (2008)

Alay sa Palatandaang Bayan is a full time artist. Two of his works are at the Bencab Museum.

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Top from left to right: Ronald Jeresano, Blaine Louie Rosales, Gerald Mungcal. Bottom: Vincent Kho, Marcelino Bugaoan Jr., Paul Allyson Quiambao and Hadrian Aguilar.

Alex Ordoyo (Western Visayas College of Science and Technology)

is a graduate student. Rommel Ramota (PUP Manila)

is still a student.

Top from left to right: Marc Miclat, Emil Jay Guiang, Jareds Yokte, Lance Kirby Yaneza, Darby Vincent Alcoseba and Arel Zambarrano. Bottom: Al Ameer Marco Lawan, Karlo Emmanuel Victoriano, Mishael Jacob Pueblas, Vincent Kho, Ronel Pangan and Paul Allyson Quiambao.

9 (2009)

Photography Vincent Kho (Federation of Philippine Photographers Foundation)

works as a dental technician and doing freelance photography on the side. Marcelino Bugaoan Jr. (UST)

is a freelance photographer. Paul Allyson Quiambao (UST)

is a graduating student. He has twice won the Benavidez Artist of the Year. Alexa Remalante (UST)

is a graduating Fine Arts student. Hadrian Aguilar (Visayas State University)

is still a student. Mari Rose Angeline Lim (Federation of Philippine Photographers Foundation)

works in a bank.

Alay sa Pamilihang Bayan Painting

Photography

Arel Zambarrano (West Visayas College of Science and Technology)

Mishael Jacob Pueblas (UP Mindanao)

is still a student.

is still a student. Jareds Yokte (University of Northern Philippines)

is still a student. Lance Kirby Yaneza (FEATI University)

is still a student. Mark Miclat (Chasse Arteskuela)

teaches art in Tarlac Emil Jay Guiang (TUP Manila)

Vincent Kho (Federation of Philippine Photographer’s Foundation) (Also a winner in ArtPetron 8) Ronel Pangan (Federation of Philippine Photographer’s Foundation)

is a full time photographer. Paul Allyson Quimbao (University of Sto. Tomas) (Also a winner in ArtPetron 8)

is still a student.

Karlo Emmanuel Victoriano (Asia Pacific College)

Darby Vincent Alcoseba (UP Cebu) (Also a winner in ArtPetron 4)

works in a production house as a video editor. Al Ameer Marco Lawan (Alternative Solution Art Group)

teaches basic photography.

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G

ArtPetron 10 Winners

rand prize

Painting - Oil/Acrylic

JEMINIC M. REAL University of Northern Philippines The Filipino Community Magazine 106.68 x 121.92 cm 46

MARK LESTER E. ESPINA Eulogio Amang Rodriguez Institute of Science and Technology Byahe Patungo Sa Aming Mga Pangarap 106.68 x 106.68

JEFFREY E. SALON Kurit Bikol The Vision 121.92 x 106.68 cm 47


G

rand prize

Painting - water-based media

CHRISANTO N. AQUINO Tarlac State University Dulot ni Bakawan 41.25 x 29.9 cm

48

MARK F. MICLAT Chasse Arteskuela Tarlac Pag-asa ng Mga Munting Pangarap 76.2 x 111.76 cm

NEIL C. DEFEO Polytechnic University of the Philippines Larawan ng Mabuting Pamayanan 50.8 x 76.20 cm


G

rand prize

KIRK GIDEON S. BUENCONSEJO Cebu Technological University Scavengers

PHOTOGRAPHY

MICHAEL LESTER FELICIANO National University Plant a Tree

PAULINO A. TAMAYO II University of Luzon Catch of the Day (Dagupan Fisherfolks)

ROEL ROBERT G. AQUINO FEATI University Lambat ni Totoy CHERRY MAE J. PINOLIAD Eulogio Amang Rodriguez Institute of Science and Technology Salamin ng Buhay

PAULINO A. TAMAYO II University of Luzon Boatman from Dagupan

50

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Runners-up Painting - Oil/Acrylic

CHLOE P. DELLOSA University of the Philippines Diliman Kapit 106.68 x 121.92 cm

Runners-up

Painting - water-based media

DIONAMYR S. CERIA Technological University of Philippines Manila Sakay na! 45.74 x 71.54 cm

ALEX P. ORDOYO Western Visayas College of Science and Technology Service 55 x 75 cm

MARK LLOYD B. BELICARIO University San Jose Recoletos Key (Susi) 96.52 x 91.44 cm

ARCHIE LUIGI A. OCLOS University of the Philippines Diliman Ito ang Pamana Ko 121.92 x 106.68 cm 52

KARL P. ALBAIS Perdc Review Center Puno ng Buhay 55 x 75 cm 53


Runners-up

Photography

HADRIAN M. AGUILAR Visayas State University Sunset’s Reward

HADRIAN M. AGUILAR Visayas State University Buwad

ALYSSA MARISSA F. AFRICA Adventist University of the Philippines Pagbuo ng Kinabukasan

54

CHERRY MAE J. PINOLIAD Eulogio Amang Rodriguez Institute of Science and Technology Magtanim ay Di Biro

CHERRY MAE J. PINOLIAD Eulogio Amang Rodriguez Institute of Science and Technology Welder

NIÑA KARLA T. BACOS Far Eastern University Planting Trees at La Mesa Eco Park

55


Semi-finalist DALE M. ERISPE Technological University of Philippines Manila Wat Ay Want Tu Bi 106.68 x 106.68 cm

FRANCISCO R. DE LEON University of Santo Tomas The Woman Behind Every Community 121.92 x 106.68 cm

56

DON BRYAN MICHAEL R. BUNAG Bulacan State University Ang Aking Munting Alay Sa Ilaw sa Ilalim ng Aking Buhay 81.28 x 91.44 cm

KEVIN MARK B. MUNGCAL Tarlac State University Gabay, Liwanag, at Pag-asa 91.44 x 121.92 cm

SANTIAGO P. BALASE University of Rizal System (Morong Campus) Alay sa Kinabukasan 60.96 x 91.44 cm

MARK KIM R. ARCENAL Technological University of Philippines Manila Bayan ni Juan 60.96 x 91.44 cm

Painting - oil/acrylic

LANCE KIRBY T. YANEZA FEATI University We Are the Change 106.68 x 121.92 cm

FRANCINE MELANIE Q. PAREDES University of the Philippines Diliman Baranggay Tibay 121.92 x 106.68 cm

BENITO D. BARTOLOME Cagayan National High School Mensahe Para Sa Bayan Ko 91.44 x 91.44 cm

57


S

JEFFREY E. SALON Kurit Bikol Tanging Yaman 53.34 x 76.2 cm

EJEM B. ALARCON Eulogio Amang Rodriguez Institute of Science and Technology Ang Pamayanan ni Totoy 45.74 x 73.66

emi-finalist

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RONSON C. CULIBRINA Technological University of Philippines Manila Pride (King of the Road) 55.88 x 76.20 cm

Painting - water-based media

KEVIN MARK B. MUNGCAL Tarlac State University Binhi ng Makulay na Kinabukasan 63.5 cm x 76.2 cm

LANCE KIRBY Y. YENEZA FEATI University My Surreal Task 54.10 x 76.2 cm

JOEBERT A. GAYOMA Western Visayas College of Science and Technology Banat 71.50 x 97.cm

JEFFERSON P. PADLAN Microcadd Technologies Bangus at Bagoong: Kinagisnang Kabuhayan ng Pangasinan 55.88 x 76.20

ERICK E. SALON Kurit Bikol Pagpugay 71.12 x 50.8 cm

ARNOLD D. LALONGISIP Polytechnic University of the Philippines Manila B’laan 50 x 76.2 cm

59


P

ainting

ArtPetron 10 Board of Judges

Benedicto Cabrera

Category Napoleon Abueva

Wig Tysmans

Virgilio S. Almario

Felice Sta. Maria

Danilo E. Dalena

P George Tapan

Raul Isidro

For the ninth straight year, National Artist Billy Abueva chairs the Board of Judges of ArtPetron. Considered the “Father of Modern Sculpture,” Billy continues to be active as a proponent and advocate of Filipino art. He was conferred National Artist for Visual Arts in 1976 at the age of 46, the youngest to be accorded the title. He was recently awarded most outstanding Manileño. Hailed as a master of Contemporary Philippine Art, Bencab was conferred National Artist for Painting in 2006. His 40-year old career began immediately after graduating with a Fine Arts degree from the University of the Philippines. As a prolific painter and print maker, he has held sold-out exhibits in Philippines, Asia, Europe and USA. Bencab is based in Baguio City. Virgilio S. Almario, more popularly known as Rio Alma, a pen name he uses for his poetry and literary work and criticisms. Rio is a scholar of our native language and culture. He was awarded the Centennial Honor for the Arts in 1998 and the National Artist Award for Literature in 2003. Rio is also a cultural administrator of the Sentro ng Wikang Filipino, UP Creative Writing Center, and the immediate past dean of the College of Arts and Letters at the University of the Philippines in Diliman.

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Alfred Esquillo Jr.

Charmaine V. Canillas

Felice is a commissioner of the UNESCO National Commission of the Philippines, serving as Chair of its Committee for Social and Human Sciences. She served as the first Commissioner for the Cultural Heritage for the NCAA, and as president and later as Vice Chairman of the Metropolitan Museum of Manila. Felice is a multi-awarded writer with National Books Awards to her name. Born in Pakil, Laguna, Danny started out as an illustrator for the Free Press and Asia Philippines. His colorful images like the jai alai and alibangbang series are social commentaries armed with wit and humor. A fine arts graduate of University of Santo Tomas, Danny’s accolades includes winning in the Art Association of the Philippines, being in the first batch of Thirteen Artists Awardees by Cultural Center of the Philippines in 1972. He was also the first grand prize winner to win in the First Mobil Art Awards in 1980. Raul is a well-respected painter specializing in lithography and print-making. Fresh from 40th year retrospective at the Cultural Center of the Philippines last June, he is a TOYM Awardee and former dean of the Philippine Women’s University College of Fine Arts. His abstract art is much-sought after by collectors.

Felbin Peter A. Soto

Alfred Esquillo Jr., a UST fine arts graduate, Alfred has won all the major art awards including the grand prize in the Philip Morris Asean Art Awards in 1995. A recipient of the CCP Thirteen Artists Awards in 2000, he is praised for his continuous experimentation of various and media on his canvases. His recent works are shown in an exhibition entitled BatoBato sa Langit at the Silverlens Art Gallery and at the Valentine Willie in Singapore, both opened last month. Charmaine is the Public Affairs Head of Petron Corporation. She was former Director for Petron Advertising where she directly handled various Petron programs and collaterals including ArtPetron. She has been with Petron for 29 years. Felbin is the Group Head for Local Station Marketing for Petron Corporation. In his more than 20 years of marketing experience, Felbin has headed marketing and promotional campaigns during his previous tenures with companies that lead in their respective industries.

Denise Weldon

hotography

Wig is a well known portraitist and commercial photographer whose career spans to more than 30 years. A product of St. Louis University in Baguio City, where he took up architecture. Among his works are Sinaunang Habi, Ginto: The BSP Gold Collection, Tanaw: The BSP Painting Collection, Malacanang: The Official Illustrated History. He has just finished a coffee table book on the province of Camarines Sur. Denise Weldon graduated from the Wheaton College in Boston where she was the first recipient of the Miriam F. Carpenter Prize in photography to be honored for two consecutive years. She is married to architect Manny Miñosa.

Romeo Vitug

Mark Floro

Category

George is a well-respected travel photographer. In 1990, he received the Best Travel Photo Award from the Asian Tourism Forum. Among his coffee table books are Southeast Asian Art and Culture, Filipina, Our Natural Heritage (DENR), and the Landscape of Ildefonso P. Santos.

A graduate of Art Center College in Pasadena California, Mark Floro has been photographing food and anything related to it for almost 30 years. He has also ventured into other culinary pursuits such as being co-owner of Buon Giorno restaurant in Mandaluyong City and Tagaytay.

Romy is one of the country’s foremost cinematographers with more than 50 feature films to his credit. He has won every major award in his field including the first FAMAS Hall of Fame and the Parangal Patnubay sa Kalinangan for Cinematography. He is the son of the late Honesto Vitug who is considered to be the “Father of Philippine Photojournalism.”

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ArtPetron 10 Folio  

Yearly magazine of ArtPetron

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